Lawrence Lucifer the old Batchiler of Limbo,' at the end of the Blacke Booke,' 1604, 4to, is the following passage, 'watched sometimes ten houres together in an ale-house, ever and anon peeping forth, and sampling thy nose with the red lattis." It has been supposed by some that the Chequer originally denoted that the guests at houses thus distinguished might amuse themselves with the game of tables or drafts, which is played upon a chequered board. The phrase Check mate, used at chess, is a corruption of the Persian Schah mat, the king is killed. The name of Backgammon is derived from the Welsh back cammawn, a little battle. Dr. Pegge, in his " Anonymiana," says, "Cancella are lattice work, by which the chancels being formerly separated from the body of the church, they took their names from thence. Hence too the Court of Chancery and the Lord Chancellor borrowed their names, that court being inclosed with open work of that kind. And so to cancel a writing is to cross it out with a pen, which naturally makes something like the figure of a lattice." The Exchequer derives its name from a chequered cloth like a chess board, which was spread on the table of that court. The Court of King's bench is so called from a high bench on which our antient monarchs sat in person. The judges, to whom in their absence was deputed the judicature, sat on benches at their feet. After all, the ale-house sign of the Chequers in England appears to have originated in the checky arms of the Warrens, Earls of Arundel and Surrey, who possessed for several reigns the exclusive privilege of licensing houses of public entertainment in this king dom. THE CHRISTOPHER is the sign of a principal ion in the city of Wells. This saint was born at Samon in Lycia; and the stories related of him in his legend are such as, Smith in his notes on Bede's Martyrology says, would exceed the faith even of Judæus Apella. By order of King Dagnus, he was confined in prison, and two females, Aquila and Nicea, were sent to induce him to renounce his religion; but were themselves converted by his arguments from the worship of Jove and Apollo to the true faith, and in testi mony of their sincerity suffered martyrdom. As to St. Christopher, his hands and feet being bound, he was beaten with iron rods, extended on a bench, and burning oil poured over him, after which he was fastened to a stake as a mark for the soldiers to hurl their darts at; but one of the weapons that had transfixed his hand flew back into the eye of King Dagnus, on which the saint was taken down and beheaded. Dagnus some time afterwards passing by the tomb of the martyr, had the sight of his eye restored to him, and greatly glorified the God of St. Christopher. Gentle THE COACH AND HORSES. men's servants, when they marry, or have saved enough to enable them to quit their menial situations, generally become inn or ale-house keepers, and it would appear most natural for a coachman to set up the coach and horses for his sign. The wives too of the drivers or guards of our public coaches very often keep ale-houses by the road side, and these are frequently ornamented with the representation of their husband's coach, as, "the Mail," "the Royal Telegraph," "the Defiance," "the Balloon," "the Bang up," &c. The first coach ever seen in England formed part of the equipage of Henry Fitzalan, the last Earl of Arundel of that name, who died in 1579. It was invented by the French, as was the Post-chaise also, which was first introduced into England by the son of the well-known writer on husbandry, Mr. Jethro Tull. Hackney coaches were first established in London by Captain Bailey in 1634, and in the same year Hackney chairs or Sedans were introduced by Sir Sanders Duncombe, Knt. who was a great traveller, and had most probably seen them at Sedan in France, where Dr. Johuson supposes that they were first made. Brewer, in his "Beauties of Middlesex," observes in a note, that "It is familiarly said, that Hackney, on account of its numerous respectable inhabitants, was the first place near London provided with coaches of hire for the accommodation of families, and that thence arises the term Hackney coaches. This appears quite futile; the word Hackney, as applied to a hireling, is traced to a remote British origin, and was certainly used in its present present sense long before that village became conspicuous for wealth or population." In 1637, the number of Hackney coaches in London, was confined to 50; in 1652 to 200; in 1654 to 300; in 1661 to 400; in 1694 to 700; in 1710 to 800; in 1771 to 1000; and in 1802 to 1100. In imitation of our Hackney Coaches, Nicholas Sauvage introduced the fiacre at Paris in the year 1650. Mail coaches were first planned and established by Mr. Palmer in 1785; before which time letters were conveyed by carts, extremely liable to robbery, and precarious intheir arrival. The hammer-cloth is an ornamental covering of the coach box. Mr.S.Pegge says, "The Coachman formerly used to carry a hammer, pincers, a few nails, &c. in a leathern pouch hanging to his box, and this cloth was devised for the hiding of them from public view." THE COCK. THE FIGHTING COCKS. "The Warrior Bird" would most likely have been a greater favourite with our English "Bonifaces," had be not been considered as the emblem of France, and as such opposed to the Lion of Britain. To this circumstance, arising from the ambiguity of the Latin word Gallus, which equally denotes a Gaul or Frenchman and a cock, may probably be attributed the barbarous custom, which too long disgraced our nation, of throwing at cocks on Shrove Tuesday. As to cock-fighting, we derived it from the Romans, as they did from the Athenians, with whom it was a favourite amusement. The form of a cock, which appears on our church steeples and other public edifices so generally as almost, by its name of weather-cock, to have superseded the proper appellation of vane, was perhaps originally placed in these situations in ridicule of the notorious instability of the French. Thus Shakspeare (in the first part of Henry VI.) makes Joan of Arc, speaking of the defection of the Duke of Burgundy, say, "Done like a Frenchman, turn and turn again." It is devoutly to be wished that this Nation, now that its rightful government is restored, may no longer verify the character given to them by Cicero of "Gallis, hominibus levibus, perfidis, et in ipsos Deos immortales impiis." At Blenheim house, that magnificent memorial of a Nation's gratitude, its architect Sir John Vanbrugh has placed on a conspicuous situation the figure of a cock writhing in a lion's paw, which, being deemed a puerile device, was the subject of this epigram: Had Marlborough's troops in Gaul no better fought, [wrought; Than Van to grace his fame in marble No more in arms than he in emblems skill'd, [field.' The Cock had drove the Lion from the There is an anecdote related of a French embassador at Rome, who, during the plenitude of the Papal power, was urging some request with unusual earnestness; when the Sovereign Pontiff, turning to his Cardinals, sneeringly exclaimed, "Gallus cantat;" to which the justly-irritated embassador replied, "Utinam ut ad Galli cantum Petrus respiceret:" au allusive repartee, pregnant with the curiosa felicitas. THE COCK A HOOP. THE COCK AND BREECHES. The representation of a Cock standing on a hoop is merely the rebus of the common phrase of Cock a hoop, exultation, elation on account of some success, standing upon high terms. Bailey derives it from the French "Coqu à hupe, a cock with a Cope crest or comb." The armorial Crest, is derived from the Latin Crista, a Cock's comb. The other représentation, of a cock standing upon a pair of breeches, is a silly indecent allusion, the subject of an old jest in Joe Miller. The word Cockney, applied in derision to a native of the city of London, or one born within the sound of Bow bells, is popularly attributed to the tale of a citizen's son, who called the crowing of a cock neighing. Some derive it from the old English word cockered, fondled, pampered; thus in Shakespeare's King John, Falconbridge, speaking of the Dauphin, says, "Shall a beardless boy Acocker'd silken wanton brave our fields?" Others deduce it from the French coquin, a common term of reproach, more particularly applied to a slothful person. Mr. Douce, with much probability, supposes it to have originated in au Utopian region of indolence and luxury, formerly denominated the Country of Cocaigne. The Fool saysto King Lear, "Cry to it, it, nuncle, as the cockney did to the THE COCK AND PIE is the sign of Hogarth, the inimitable Comic painter, was the author of a dinner invitation, requesting his friend to come and ";" but the following reproof ascribed to Congreve is not, I think, commonly known, He had some snuff which was peculiarly grateful to the nose of his Brother Dramatist Rowe, who sending his box to be replenished too frequently, Congreve at last wrote with a pencil on its lid ", P!"-Dennis, to whom this was told, is said to have exclaimed, that he was sure a man capable of making so vile a pun, would not scruple to pick pockets. THECRISPIN. Afew ale-houses, whose Jandlords are also shoe-makers, or patronized by the members of that trade, GENT. MAG Suppl. LXXXVIII. PART 1. C are distinguished by this appellation. Crispin and his brother Crispinus were born at Rome, whence they travelled to Soissons in France, where they preached the doctrines of Christianity, practising the trade of shoeyear of their arrival at Soissons, A. D. makers for their support. But in the 303, they were apprehended by the governor Rictionarius, and beheaded October 25; since which they have been considered as the Patron Saints of shoe-makers. tyrdom, in the year 1415, was fought On the anniversary of their mar the glorious battle of Agincourt; and Harry such a speech as no Englishman Shakspeare has given to our Fifth can possibly read, but it "Will rouze him at the name of Crispian." In an old Romance the Saint is con himself as a shoe-maker; and thence verted into a Prince, who employed is supposed to be derived the expres sion of gentle craft as applied to that trade. wainer is derived from Cordovan, a The usual legal appellation of Cordpeculiar kind of leather, originally made of goat skins at Cordova in Spain; but all leather made of horse-hides and curried is at present so called. Anne; daughter of Winceslaus King of Bohemia, and queen of Richard II. introduced into England the fashion of wears ing shoes so preposterously long, that they were at length obliged to be supported by silver chains or silken laces tied to the knees, until 5 Edward IV. when a Statute was enacted, imposing a penalty of 20 shillings on all persons wearing, and 30 shillings on making, the peaks of shoes longer than two duced the use of the side-saddle; prior inches. Aune of Bohemia also introto her arrival the English ladies used to ride astride. [To be continued.] "THE DETECTED."-No. VI. usque ego posterâ "Crescam laude recens." Revive in freshness of PosterityIt's Praise. PITAPHS, and the inherent de recording longevity, or their (and I eternity, have been the source of his- ples were crowded with monuments; tory and poetry; the latter contributed and the next places selected were the to the living and practical memory of highways, the sacred places of public the former, by the metrical facility of inspection, and therefore public venesong and repetition. Songs, when in- ration. The merits of the hero were scribed on tomb stones or monumeu's, generally expressed in his own lanwere the chief subjects of music at guage in the first person (and so it is periodical festivals. It was the policy usually addressed to the odorofos," of the ancients to give to useful virtue or "viator," in Greek and Latin), spean associating life by the alluring_re- cified in a language of real or feigned hearsals of its best actions; to effect egotism, composed by himself, not by these purposes, and gratify the last others. This by superficial observers feelings of those who were heroes in has been much censured; but upon bravery or virtue, epitaphs were the maturer reflection it must be praised; chief marble pages of the books of for no persons regarded their last moancient states. This is the origin of ments as sacred more than the anthe reason of epitaphs being used, and cients; they regarded as equally sacred, held sacred-to assist the memory, truth-they knew the ready power of and the practice of virtue, the orna- monuments, and they naturally shudment, the solace, and the defence of dered at eternizing the falsity of themempires. It would be superfluous here selves. Thus was the moral use, tento trace to this source the most valu- dency, fidelity, and incitement of aud able writings of antiquity, the Scrip- to every goodness during, and espetures, or the Poems of the Grecian cially at the conclusion of, existence, Muse; but the researches of Jacob in the happiest æra of literature and Bryant will retrace the Muse to the virtue,created,cultivated,and adorned. higher authority of Moses, thro' the enlightening medium of clear and deep etymology. It was my wish here to have selected and dwelt upon many of Bryant's remarks; but as this would have been a comment upon words, rather than comments upon contexts of morality or metaphysics, I shall limit to one paper only these speculative attempts. After professional virtues of the departed individuals were inscribed on the monument, the dates and places were added; and in these chronological and historical points they became valuable. As the ages were more accomplished, and poetry cultivated, regular verses were the means of prolonging the longevity of their fame. The sacred intellect of history, which the Scripture bears, evidently shews the superiority of mind; and this superiority has been in the ages of Greece, not only after in time, but in mind and letters, has been imitated as far as human means could permit. I need not quote any passage for this purpose; but refer the reader to Moses, David, or Job. Such poetical records being sung at every festival, the Greeks followed this example, and particularly adopted the poetry of the Epitaph: so that the deceased was not only immortalized by his own practice of virtue, but by poetry. After the enlightered ages succeeded, the tem On Sculpture in ENGLAND, as ap- AT T the restoration of Charles II. it is probable that some of the banished artists lived to return, and it is certain that sepulchral memorials were in great request. A new æra commenced in England; but Sculpture was servilely copied from France, and generally with inferior execution. One of the first grants made by Parliament, after the Restoration, was of a large sum for a Mausoleum, to the memory of Charles I.; which, it is needless to add, in such a reign as that of his son, was never executed, The design, with an estimate of nearly 50,000l. was given by Sir Christopher Wren*. I know not what the tomb itself was intended to be, having never seen any drawing of it. JOSHUA and EDWARD MARSHALL were principally employed during the early part of this reign, having res turned to the patronage of the nobility. At Campden in Gloucestershire, the name of the former, with a date 1664, This design is amongst others by Sir C. Wren in three Volumes, given by Dr. Clarke to All Souls College, Ox ford. is is placed on a monument of large dimensions, in white marble. The standing figures represent Edward Lord Noel and his lady, as large as life, in their winding-sheets, within a cabinet, the folding doors of which, of black marble, are thrown open. The same conceit, and probably by the same artist, is repeated in the monument of Lady Cutts at Swavesey in Cambridgeshire. EDWARD PEARCE* was of this school. His great monumental work is at Little Easton, in Essex, for William Lord Maynard; and it was one of his last. It is twenty feet high by twelve, at the base; the figure stands on a pedestal, and is sur rounded by busts and medallions of his relatives. His contemporary was JOHN BUSHNELLt, who had learned his art of THOMAS BURMAN. He adopted the flutter of the French style in his draperies. The statue of John Lord Mordaunt at Fulham, Middlesex, is admired as a classic performance; but the Roman costume is by no means accurate. Lord Chancellor Nottingham's tomb, with his figure in his robes of state, in white marble, was erected at Ravenstone in Bucks before 1700, and is conjecturally by Bushnell. bey contains some of his chief works. Grinling Gibbons has been claimed as a native artist. His merit as a carver in wood is unrivalled. Monuments known to have been of his hand are," The bust of Sir Peter Lely in Covent Garden Church; of Viscount Campden at Exton in Rutlandshire, of Dorothy Lady Clarke at gate at Harefield, both in Middlesex." If the sums paid about this period for monuments be a just criterion of the merit of the artist, two at Tod-Fulham, and of Dame Mary Newdidington, in Bedfordshire, are said to have cost 20007. each. They were erected for Henrietta Lady Went worth and her sister, and from extreme neglect are at this time nearly destroyed. The first mentioned is entirely in Bushnell's manner. The next in the series of Sculptors is FRANCIS BIRD §. Westminster Ab Of CAIUS GABRIEL CIBBER I have already given some account in your Magazine for April 1816, p. 305, and I have no notice of any monumental sculpture with his name annexed. T The reigns of George 1. and 11. introduced into England a school of foreign sculptors, and some of them He sculptured the four dragons on the base of the Monument, London. There is a very spirited bust of Sir C. Wren, by him, in the Bodleian Gallery. Walpole's Anecdotes, vol. II. p. 247, 8vo. + Bushnell is known as the carver of the Kings at Temple bar, which are greatly superior to those which he likewise did in the Royal Exchange. In his monument to Sir H. Furnese at Waldershare in Kent there are four female figures as large as life. He was skilful in drapery. Walpole's Anecd. vol. III. p. 259. Lysons's Bedfordshire. § Bird was patronized and employed by Sir Christopher Wren, in the decora tion of St. Paul's cathedral. For the pediment, 64 feet by 17, and consisting of eight figures, of which six are equestrian, he was paid £650.-£250 for the statue of Queen Anne, and the same sum for each of the four figures round the pedestal. £300 for the reliefs under the Western portico, and £75. each for the pannels. Walpole says, vol. III. p. 283, that "the many public works by his hand which inspire nobody with a curiosity of knowing the artist, are not good testimonies in his favour." Yet I think that the figure of Dr. Busby would not be passed, by any lover of the art, with such indifference. || Walpole, v, III. p. 148. His statue of James II. behind Whitehall, has great merit. 1 |